I think that the camaraman needs to ask the essential questions. I mean, well there are things - It's part of the things that are- When you're making films, one the first things to sort out is the communication problem, meaning- How are we going to understand each other? Because I mean we can't explain a film. It's inexplicable since every time we explain one thing there are three quarters of the other things missing, the music is missing, the editing is missing, the sounds are missing, a whole load of things are missing. So I mean it's unimaginable to be able to explain it. So if you want, we're given a screenplay, we read it to know if we want to make the film or not. And if we want to make the film, obviously when we read it we are compelled to create a scenario to imagine how the scenes are going to be done, to get a certain feel for it. So at this point you think- You more or less know how it's going to look, and then when you're faced with the director, all of a sudden, I mean he explains something. And that something he explains, unfortunately doesn't erase what we imagined, it superimposes itself onto it. Meaning that, obviously, there comes a time when inevitably there are things that might differ. And it might be interesting at some point to reposition yourself to think- Well, how do we do this? Do we do this like that or like this in order to get back in tune with the other's ideas. I mean there are ideas that are always complicated because- I mean, we inevitably reach the same result. To give an exaggerated example, when you talk about the night. Three quarters of the time we say- When we're doing night, we always make it a little blue, and it implies that people, we don't know why, will think it's blue. So often the director says- I'm fed up with blue nights, so we're going to do something really not complicated, we do the night black. I want it black, completely black. All right, so we don't see anything? No. So you say- All right, so it's not worth filming, you do a recording of the scene, it's like radio and we put a small piece of blank film and it's black. No, stop kidding around, we're not going to do that, we're still going to light a little. So, we light it a little. Well no, and there's what's his name over there, he's the star so we really need to light him, we need to see his face, for the amount he's costing us. So we light him, we start lighting, and then we have to light the other guy, obviously, so that there isn't one in the light and the other one in the dark. So we light and after a while, the guy says- But actually how do we know it's the night and not the evening? Well we'll do it a little blue. That's it. So I mean it's part of this speech which is always very difficult when it comes to talking about things we want to convey, about things we want to stir up, it's always very complicated. The speech is very complex. So at one point we have to ask questions, questions to reassure ourselves, to know if we're well in tune with what he wants to do. Saying that we can also do something without being bothered by what other people say.

French cinematographer, Raoul Coutard (1924-2016) was twice nominated for the César Award for best cinematography which he won in 1978 for 'Le Crabe-tambour'. He made over 75 films and documentaries, including 'À Bout de Souffle', Le Mépris' and 'Band à Part'. He was the most acclaimed French cinematographer of his generation and one of the key figures of the New Wave.

Benard Cohn is a French filmmaker and writer, who has directed five films as well as numerous documentaries and television series. As an assistant director, he worked with many important filmmakers, including Luis Buñuel, François Jacob, Otto Preminger and Woody Allen. He was a founding member of the Ciné-Qua-Non cinema club and has acted as editor and translator for various publications on the world of cinema.